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Ed Kienholz “Five Car Stud” – on view for the first time in 40 years

Emphasizing the marginal and the forgotten, tackling racism, sex, and war Ed Kienholz (October 23, 1927 – June 10, 1994) approached his artwork much like a horror film director. His tableaus are annihilated spaces, post-apocolyptic scenes in which we, the audience, can peer into the deeps of what the “other” (still so much like us) feels. Loneliness is palpable as the uncanny figures mock us for not having the guts to be as dirty and as real as they are. These are shocking scenes, even for today, and they resonate deep within our sensibilities. He re-created the ugliness of the world in an environment to which we could safely relate.

Much of his work has an edge to it but one of his more provocative installations is being re-visited this month in Los Angeles. Kienholz’s infamous Five Car Stud (made somewhere between 1969 and 1972) that depicts a brutally violent racial attack will be seen for the first time in forty years at the Los Angeles County Museum of Art as part of the city-wide Pacific Standard Time event. From the Los Angeles Times:

It is a difficult piece on multiple levels. It is enormous, for one thing: a tableau installation involving nine life-sized figures, five automobiles, several trees and a truckload of dirt. More difficult still is what the piece depicts: a circle of white men, lighted only by the headlights of the circled automobiles, pinning and castrating a lone black man, while a child cowers in one of the cars and a woman — presumably the victim’s companion — huddles and vomits in another.

The white figures are all realistically cast, but for the grotesque rubber masks on each of the men. The black figure’s face is uncannily bifurcated: a clear plastic outer face is frozen in a scream while a darker one within it is “sadly resigned and quiet,” as Kienholz put it in a statement at the time. His torso is made from a rectangular tin filled with black water, in which float letters that spell out a racial slur.

"Many people are blinded by fear of seeing something different, or of seeing anything differently, or by the inability to differentiate between what they know how to see and what they could see if they knew how." - Vincent Price

The Girl Who Knew Too Much is honored to be a recipient of a 2012 Creative Capital/Warhol Foundation Arts Writers Initiative Grant.